THESE LYRICS ARE MY INTERPRETATION AND HAVE IN NO WAY BEEN SANCTIONED BY ANY PUBLISHING COMPANIES. IF YOU NOTICE ANY MISTAKES OR OMISSIONS, PLEASE LET ME KNOW.
THE UNOFFICIAL
PAUL McCARTNEY'S
LYRICS ARCHIVE
1991
(ALL SONGS APPEARS IN ORDER OF THEIR FIRST RELEASE)
BEBOP A LULA
I LOST MY LITTLE GIRL
HERE, THERE AND EVERYWHERE
BLUE MOON OF KENTUCKY
WE CAN WORK IT OUT
SAN FRANCISCO BAY BLUES
I'VE JUST SEEN A FACE
EVERY NIGHT
SHE'S A WOMAN
HI-HEEL SNEAKERS
AND I LOVE HER
THAT WOULD BE SOMETHING
BLACKBIRD
AIN'T NO SUNSHINE
GOOD ROCKIN' TONIGHT
SINGING THE BLUES
PAUL McCARTNEY'S LIVERPOOL ORATORIO
MOVEMENT I - WAR
MOVEMENT II - SCHOOL
MOVEMENT III - CRYPT
MOVEMENT IV - FATHER
MOVEMENT V - WEDDING
MOVEMENT VI - WORK
MOVEMENT VII - CRISES
MOVEMENT VIII - PEACE
SO LIKE CANDY (As recorded by Elvis Costello)
PLAYBOY TO A MAN (As recorded by Elvis Costello)
VERONICA (Demo version) (As recorded by Elvis Costello)
BE-BOP-A-LULA
By Gene Vincent and Tex Davis
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
WELL, BE-BOP-A-LULA, SHE'S MY BABY,
BE-BOP-A-LULA, DON'T MEAN MAYBE;
BE-BOP-A-LULA, SHE'S MY BABY,
BE-BOP-A-LULA, I DON'T MEAN MAYBE,
BE-BOP-A-LULA, SHE'S MY BABY DOLL, MY BABY DOLL, MY BABY DOLL.
WELL, SHE'S THE WOMAN IN THE RED BLUE JEANS,
SHE'S THE QUEEN OF ALL THE TEENS,
SHE'S THE WOMAN THAT I KNOW,
SHE'S THE WOMAN THAT LOVES ME SO .
BE-BOP-A-LULA, SHE'S MY BABY,
BE-BOP-A-LULA, I DON'T MEAN MAYBE,
BE-BOP-A-LULA, SHE'S MY BABY LOVE, MY BABY LOVE, MY BABY...
OH, COME ON, ROCK IT!
YIHAY! YEAH!
EE -
WELL, BE-BOP-A-LULA, SHE'S MY BABY,
BE-BOP-A-LULA, DON'T MEAN MAYBE;
BE-BOP-A-LULA, SHE'S MY BABY, YEH,
BE-BOP-A-LULA, I DON'T MEAN MAYBE,
BE-BOP-A-LULA, SHE'S MY BABY DOLL, MY BABY DOLL, MY BABY DOLL.
WELL, SHE'S THE WOMAN WHO'S GOT THAT BEAT,
SHE'S THE WOMAN WITH THE FLYING FEET,
SHE'S THE WOMAN WALK AROUND THE STORE,
SHE'S THE WOMAN THAT LOVES ME MORE, MORE, MORE.
BE-BOP-A-LULA, SHE'S MY BABY,
BE-BOP-A-LULA, I DON'T MEAN MAYBE,
BE-BOP-A-LULA, SHE'S MY BABY DOLL, MY BABY DOLL.
COME ON, WIX, PLAY IT!
AH YEAH!
OH, ALL RIGHT!
YEAH!
WELL, BE-BOP-A-LULA, SHE'S MY BABY,
BE-BOP-A-LULA, DON'T MEAN MAYBE;
BE-BOP-A-LULA, SHE'S MY BABY, YEH,
BE-BOP-A-LULA, I DON'T MEAN MAYBE,
BE-BOP-A-LULA, SHE'S MY BABY DOLL, MY BABY DOLL, MY BABY DOLL.
-"Yeah! Thank you, thank you, thank you, all right!"
-"Welcome to 'Unplugged', the programme where ev'rybody takes their plugs out and goes mad."
Ó Carlin Music Corp
I LOST MY LITTLE GIRL
By Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Now...gonna play a song which, eh, I, it was the first song I ever wrote, when I was fourteen.
Eh...we've done an arrangement on it, you see. You take a 'G' and you take a 'G7' and then the 'C'.
That's all there is really. A bit of 'F', I must admit."
WELL, I WOKE UP LATE THIS MORNING,
MY HEAD WAS IN A WHIRL,
ONLY WHEN I REALISED I LOST MY LITTLE GIRL.
AH-HAH-HAH-HAH-HAH.
WELL, HER CLOTHES ARE NOT EXPENSIVE,
HER HAIR DIDN'T ALWAYS CURL.
I DON'T KNOW WHY I LOVE HER
BUT I LOVE MY LITTLE GIRL.
AH-HAH-HAH-HAH-HAH.
WELL, GATHER 'ROUND PEOPLE,
LET ME TELL YOU THE STORY
OF THE VERY FIRST SONG I WROTE.
WELL, GATHER 'ROUND PEOPLE,
LET ME TELL YOU THE STORY
OF THE VERY FIRST SONG I WROTE.
I WOKE UP LATE THIS MORNING,
MY HEAD WAS IN A WHIRL,
ONLY WHEN I REALISED I LOST MY LITTLE GIRL.
AH-HAH-HAH-HAH-HAH.
THAT'S IT!
-"Thank you, thank you!
We never did it because of that line...eh..."Her hair wouldn't always curl".
Couldn't handle that line."
Ó MPL Communications Ltd.
HERE, THERE AND EVERYWHERE
By John Lennon and Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Still, there you go, okay.
Alright then. Many years later I writ this one."
TO LEAD A BETTER LIFE
I NEED MY LOVE TO BE HERE.
HERE, MAKING EACH DAY OF THE YEAR,
CHANGING MY LIFE WITH A WAVE OF HER HAND;
NOBODY CAN
DENY THAT THERE'S SOMETHING THERE.
THERE, RUNNING MY HANDS THROUGH HER HAIR,
BOTH OF US THINKING HOW GOOD IT CAN BE;
SOMEONE IS SPEAKING;
BUT SHE DOESN'T KNOW HE'S THERE.
I NEED HER EV´RYWHERE
AND IF SHE'S BESIDE ME I KNOW I NEED NEVER CARE.
BUT TO LOVE HER IS TO NEED HER
EV´RYWHERE, KNOWING THAT LOVE IS TO SHARE, AH -
EACH ONE BELIEVING THAT LOVE NEVER DIES,
WATCHING HER EYES
AND HOPING I'M ALWAYS THERE.
I WANT HER EV´RYWHERE
AND IF SHE'S BESIDE ME I KNOW I NEED NEVER CARE.
BUT TO LOVE HER IS TO NEED HER
EV´RYWHERE, KNOWING THAT LOVE IS TO SHARE, AH -
EACH ONE BELIEVING THAT LOVE NEVER DIES,
WATCHING HER EYES
AND HOPING I'M ALWAYS THERE.
I WILL BE THERE AND EV´RYWHERE,
HERE, THERE AND EV´RYWHERE.
-"Thank you!"
Ó Northern Songs Ltd.
BLUE MOON OF KENTUCKY
By Bill Monroe
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"It's quite cold this afternoon!
Still, here we go. We'd like to do a song, I think...ha!
This one is written by Bill Monroe, goes like this.
(Matt Monro's dad!) Matt Monro's dad!"
WELL, BLUE MOON OF KENTUCKY KEEP ON SHINING,
SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE;
WELL, BLUE MOON OF KENTUCKY KEEP ON SHINING,
SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE.
WELL, IT WAS ON ONE MOONLIGHT NIGHT
WITH THE STARS SHINING BRIGHT,
WIND BLOWIN' HIGH, MY LOVE SAID GOODBYE.
BLUE MOON OF KENTUCKY KEEP ON SHINING,
SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE.
WELL, IT WAS ON ONE MOONLIGHT NIGHT
WITH THE STARS SHINING BRIGHT,
WIND BLOWIN' HIGH, MY LOVE SAID GOODBYE.
BLUE MOON OF KENTUCKY KEEP ON SHINING,
SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE.
WELL, BLUE MOON, YEAH, BLUE MOON,
YEAH, BLUE MOON KEEP SHINING BRIGHT,
WELL, BLUE MOON KEEP ON SHINING BRIGHT,
BRING MY BABY BACK TONIGHT.
BLUE MOON, YEAH, KEEP SHINING BRIGHT.
WELL, I SAID, BLUE MOON OF KENTUCKY JUST A-KEEP ON SHINING,
SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE;
WELL, BLUE MOON OF KENTUCKY JUST A-KEEP ON SHINING,
YEH, SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE.
WELL, IT WAS ON ONE MOONLIGHT NIGHT
WITH THE STARS SHINING BRIGHT,
WIND BLOWIN' HIGH, MY LOVE SAID GOODBYE.
BLUE MOON OF KENTUCKY JUST A-KEEP ON SHINING,
WELL, SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE.
YEH, SHINE ON THE ONE THAT'S GONE AND LEFT ME BLUE.
WO! WO! WO! YEAH!
-"Oh, thank you, thanks for all your 'wo!' and 'yeah!' and 'wohoo!' and all of that.
(Yihay! Yihoo!) Yeah, in fact, let's have a little more of that, can we?"
Ó Southern Music Publishing
WE CAN WORK IT OUT
By John Lennon and Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"(Steady!) Steady, boy, steady! Are you ready?
One, two, three, four.
TRY TO SEE IT MY WAY,
ONLY TIME WILL TELL IF I AM RIGHT OR I AM WRONG...
-"Hang on! Hang on! Hang on! I only got the words wrong, didn't I? Been a long time.
This is so informal, we'll start again.
Can we have a few more 'wohoo's' and 'yeah'?"
-"One, two... hey, wait a minute, what is the words? "Do I have to..." I got it! I got it!"
One, two, three, four.
TRY TO SEE IT MY WAY
DO I HAVE TO KEEP ON TALKING TILL I CAN'T GO ON?
WHILE YOU SEE IT YOUR WAY,
RUN A RISK OF KNOWING THAT OUR LOVE MAY SOON BE GONE.
WE CAN WORK IT OUT,
WE CAN WORK IT OUT.
THINK OF WHAT YOU'RE SAYING,
YOU CAN GET IT WRONG AND STILL YOU THINK THAT IT'S ALL RIGHT.
THINK OF WHAT I'M SAYING,
WE CAN WORK IT OUT AND GET IT STRAIGHT, OR SAY GOOD NIGHT.
WE CAN WORK IT OUT,
WE CAN WORK IT OUT.
LIFE IS VERY SHORT AND THERE'S NO TIME
FOR FUSSING AND FIGHTING, MY FRIEND.
I HAVE ALWAYS THOUGHT THAT IT'S A CRIME
SO I WILL ASK YOU ONCE AGAIN.
TRY TO SEE IT MY WAY,
ONLY TIME WILL TELL IF I AM RIGHT OR I AM WRONG.
WHILE YOU SEE IT YOUR WAY,
THERE'S A CHANCE THAT WE MIGHT FALL APART BEFORE TOO LONG.
WE CAN WORK IT OUT,
WE CAN WORK IT OUT.
LIFE IS VERY SHORT AND THERE'S NO TIME
FOR FUSSING AND FUSSING AND FUSSING AND FIGHTING, MY FRIEND.
I HAVE ALWAYS THOUGHT THAT IT'S A CRIME
SO I WILL ASK YOU ONCE AGAIN.
TRY TO SEE IT MY WAY,
ONLY TIME WILL TELL IF I AM RIGHT OR I AM WRONG.
WHILE YOU SEE IT YOUR WAY,
THERE'S A CHANCE THAT WE MIGHT FALL APART BEFORE TOO LONG.
WE CAN WORK IT OUT,
WE CAN WORK IT OUT.
HEY -OO-OO-OO-
-"Thank you! Thank you very much! Cheers!"
Ó Northern Songs Ltd.
SAN FRANCISCO BAY BLUES
By Jesse Fuller
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Okay, lads? Okay, so this next song was, eh... The record I had was by Ramblin' Jack Elliot, son of T.S.
Goes like this."
OW! OW!
WELL, WHEN I'M WALKING WITH MY BABY
DOWN BY THE SAN FRANCISCO BAY,
THE OCEAN LINER IS GOING SO FAR AWAY,
I DIDN'T MEAN TO TREAT HER SO BAD,
SHE WAS THE BEST PAL I EVER HAD.
SHE MADE ME CRY, SHE MADE ME SIGH,
I WANNA LAY DOWN AND DIE.
WELL, I AIN'T GOT A DOLLAR, I DON'T GIVE A LOUSY DIME,
AND IF SHE NEVER COMES BACK, YOU KNOW, I'M GONNA LOSE MY MIND.
BUT IF SHE EVER COME BACK TO STAY, IT'S GONNA BE A BRAND NEW DAY,
WHEN I'M WALKING WITH MY BABY
DOWN BY THE SAN FRANCISCO BAY, HEY, YEAH.
YIHAY!
YIHAY!
OH! OH! OH!
OH YEAH, I DON'T GIVE A LOUSY DIME!
GONNA LOSE MY MIND!
BUT IF SHE EVER...
YES, IT'S GONNA BE A...
WALKING...
YEAH, YEAH.
WELL, WHEN I'M WALKING WITH MY BABY
DOWN BY THE SAN FRANCISCO BAY,
YOU KNOW THE OCEAN LINER IS GOING SO FAR AWAY,
WELL, I DIDN'T MEAN TO TREAT HER SO BAD,
SHE WAS THE BEST PAL I EVER HAD.
SHE MADE ME CRY, SHE MADE ME SIGH,
SHE MADE ME WANNA LAY DOWN AND DIE.
WELL, I AIN'T GOT A DOLLAR, I DON'T GIVE A LOUSY DIME,
YEAH, BUT IF YOU NEVER COME BACK, YOU KNOW, I'M GONNA LOSE MY MIND.
BUT IF YOU EVER COME BACK TO STAY, IT'S GONNA BE A BRAND NEW DAY,
WHEN I'M WALKING WITH MY BABY
DOWN BY THE SAN FRANCISCO BAY, HEY,
I'M WALKING WITH MY BABY
DOWN BY THE SAN FRANCISCO BAY,
WE'VE GOTTA
YEAH, I'M WALKING WITH MY BABY
DOWN BY THE SAN FRANCISCO BAY, AH-HAH!
HUH! HUH!
-"Thank you! Thank you!"
Ó Essex Music Ltd.
I'VE JUST SEEN A FACE
By John Lennon and Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Okay, are you ready, Robbie? You start after 10, after 2.
One, two.
I'VE JUST SEEN A FACE
I CAN'T FORGET THE TIME OR PLACE WHERE WE JUST MET.
SHE'S JUST THE GIRL FOR ME
AND I WANT ALL THE WORLD TO SEE WE'VE MET.
MM DA DA DA DA DA.
HAD IT BEEN ANOTHER DAY
I MIGHT HAVE LOOKED THE OTHER WAY
AND I´D HAVE NEVER BEEN AWARE.
AS IT IS I´LL DREAM OF HER TONIGHT,
DA DA DA DA DA DA.
FALLING, YES, I AM FALLING,
AND SHE KEEPS CALLING ME BACK AGAIN.
I HAVE NEVER KNOWN THE LIKES OF THIS,
I'VE BEEN ALONE AND I HAVE MISSED THINGS
AND KEPT OUT OF SIGHT.
FOR OTHER GIRLS WERE NEVER QUITE LIKE THIS,
DA DA DA DA DA DA.
FALLING, YES, I AM FALLING,
AND SHE KEEPS CALLING ME BACK AGAIN.
BRR-BOM-BOM-BOM! HO!
BAP, BAP,
YEAH, YEAH, YEAH!
FALLING, YES, I AM FALLING,
AND SHE KEEPS CALLING ME BACK AGAIN.
I'VE JUST SEEN A FACE
I CAN'T FORGET THE TIME OR PLACE WHERE WE JUST MET.
SHE'S JUST THE GIRL FOR ME
AND I WANT ALL THE WORLD TO SEE WE'VE MET.
DA DA DA DA DA DA.
FALLING, YES, I AM FALLING,
AND SHE KEEPS CALLING ME BACK AGAIN.
FALLING, YES, I AM FALLING,
AND SHE KEEPS CALLING ME BACK AGAIN.
OH, FALLING, YES, I AM FALLING,
AND SHE KEEPS CALLING ME BACK AGAIN.
-"Oo-
Thank you! Alright!
Thank you very much, thank you.
Thank you, thank you.
Yihah! And then Woohoo!
Oops! Bit of tuning, bit of tuning!
That's just...that's near enough for skiffle!"
Ó Northern Songs Ltd.
EVERY NIGHT
By Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"This is how we started out, you know. Ev'ryone kind of, in those days, bought a guitar and, like it was the
skiffle craze. It's going back before most of your time. And mine! Certainly before yours."
EV'RY NIGHT I JUST WANNA GO OUT,
GET OUT OF MY HEAD.
EV'RY DAY I DON'T WANNA PLAY UP,
GET OUT OF MY BED.
EV'RY NIGHT I WANNA PLAY OUT
AND EV'RY DAY I WANNA DO-OO-OO-OO-OO.
BUT TONIGHT I JUST WANNA STAY IN
AND BE WITH YOU-OO,
AND BE WITH YOU.
OO-OO-OO-OO-OO-OO-OO-OO-OO,
OO-OO-OH-OH, BELIEVE ME, MOMMA.
OO-OO-OO-OO-OO-OO-OO-OO-OO,
OO-OO-OH-OH.
EV'RY DAY I LEAN ON A LAMP POST,
I'M WASTING MY TIME. (time)
EV'RY NIGHT I LAY ON A PILLOW,
JUST RESTING MY MIND. (mind)
EV'RY MORNING BRINGS A NEW DAY
AND EV'RY NIGHT THAT DAY IS THROU-OO-OO-OO-OUGH.
BUT TONIGHT I JUST WANNA STAY IN
AND BE WITH YOU-OO-OO,
AND BE WITH YOU.
OO-OO-OO-OO-OO-OO-OO-OO-OO,
OO-OO-OH-OH, BELIEVE ME.
OO-OO-OO-OO-OO-OO-OO-OO-OO, MOMMA,
OO-OO-OH YEAH.
MM-MM-MM-MM-
OH-OH-OH-OH-OH-OH-OH-OH-OH,
OH-OH-HEY YEAH, YEH, BELIEVE ME.
OH-OH-OH-OH-OH-OH-WOH-OH-OH,
OH-OH-OH-OH, AND BE WITH YOU.
-"Thank you, thank you, thank you, thank you. Alright."
Ó Northern Songs Ltd.
SHE'S A WOMAN
By John Lennon and Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
MY LOVE DON'T GIVE ME PRESENTS,
I KNOW THAT SHE'S NO PEASANT.
ONLY EVER HAS TO GIVE ME
LOVE FOREVER AND FOREVER;
MY LOVE DON'T GIVE ME PRESENTS.
TURN ME ON WHEN I GET LONELY,
PEOPLE TELL ME THAT SHE'S ONLY FOOLIN',
I KNOW SHE ISN'T.
SHE DON'T GIVE BOYS THE EYE,
SHE HATES TO SEE ME CRY.
SHE IS HAPPY JUST TO HEAR ME
SAY THAT I WILL NEVER LEAVE HER;
SHE DON'T GIVE BOYS THE EYE.
SHE WILL NEVER MAKE ME JEALOUS,
GIVES ME ALL HER TIME AS WELL AS LOVIN',
DON'T ASK ME WHY.
SHE'S A WOMAN WHO UNDERSTANDS;
SHE'S A WOMAN WHO LOVES HER MAN.
MY LOVE DON'T GIVE ME NO PRESENTS,
I KNOW THAT SHE'S NO PEASANT.
ONLY EVER HAS TO GIVE ME
LOVE FOREVER AND FOREVER;
MY LOVE WON'T GIVE ME NO PRESENTS.
TURN ME ON WHEN I GET LONELY,
PEOPLE TELL ME THAT SHE'S ONLY FOOLIN',
I KNOW SHE ISN'T.
YEAH, SHE'S A WOMAN, HEY, HEY!
HEY, HEY!
WELL, SHE'S A WOMAN WHO UNDERSTANDS;
SHE'S A WOMAN WHO LOVES HER MAN.
MY LOVE DON'T GIVE ME NO PRESENTS,
I KNOW THAT SHE'S NO PEASANT.
ONLY EVER HAS TO GIVE ME
LOVE FOREVER AND FOREVER;
MY LOVE DON'T GIVE ME NO PRESENTS.
TURN ME ON WHEN I GET LONELY,
PEOPLE TELL ME THAT SHE'S ONLY FOOLIN',
I KNOW SHE ISN'T.
SHE'S A WOMAN,
SHE'S A WOMAN,
SHE'S A WOMAN,
YES, SHE'S A WOMAN,
AH, SHE'S A WOMAN.
SHE'S A WOMAN,
SHE'S THE WOMAN.
Ó Northern Songs Ltd.
HI-HEEL SNEAKERS
By Robert Higgenbotham
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Okay."
PUT ON YOUR RED DRESS, BABY,
GAL, WE'RE GOIN' OUT TONIGHT, YEAH, YEAH.
PUT ON YOUR RED DRESS, BABY,
GAL, WE'RE GOIN' OUT TONIGHT, YEAH, YEAH.
BETTER WEAR SOME BOXING GLOVES
IN CASE SOME FOOL MIGHT WANNA FIGHT. (hey, hey)
PUT ON YOUR HI-HEEL SNEAKERS,
PUT YOUR WIG HAT ON YOUR HEAD. (hey, yeah)
PUT ON YOUR HI-HEEL SNEAKERS,
SLAP YOUR WIG HAT ON YOUR HEAD. (yeah, yeah-yeah)
WELL, YOU KNOW YOU'RE PRETTY SURE NOW,
PRETTY SURE, PRETTY SURE YOU'RE GONNA KNOCK 'EM DEAD.
HEY, YEAH!
COME ON NOW! HO!
OO -
YEAH! YEAH! YEAH! YEAH! YEAH! YEAH!
YEAH!
HUH!
PUT ON YOUR RED DRESS, BABY,
GAL, WE'RE GOIN' OUT TONIGHT, YEAH, YEAH.
PUT ON YOUR RED DRESS, BABY,
GAL, WE'RE GOIN' OUT TONIGHT, HEY, HEY. (yeah, yeah)
YOU BETTER WEAR SOME BOXING GLOVES
IN CASE SOME FOOL MIGHT WANNA FIGHT, HEY, YEAH.
PUT ON YOUR HI-HEEL SNEAKERS,
PUT YOUR WIG HAT ON YOUR HEAD, YEAH, YEAH. (yeah, yeah)
PUT ON YOUR HI-HEEL SNEAKERS,
SLAP THAT WIG HAT ON YOUR HEAD, YEAH, YEAH. (yeah, yeah)
WELL, I KNOW DAMN PRETTY SURE NOW,
PRETTY SURE, PRETTY SURE YOU'RE GONNA KNOCK 'EM DEAD.
YEAH, YEAH!
PUT ON YOUR HI-HEEL SNEAKERS, (ho!)
PUT YOUR RED DRESS ON.
HI-HEEL SNEAKERS,
PUT THAT WIG HAT ON YOUR HEAD.
HI-HEEL SNEAKERS,
WE'RE GOIN' OUT TONIGHT, BABE.
HI-HEEL SNEAKERS.
-"Ho! Thank you!
Thank you, thank you, thank you. Are you having a good time?
As if you'd say no!
Okay."
Ó Jewel Music Publishing.
AND I LOVE HER
By John Lennon and Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Are you ready, Hamlish?"
-"Ah?"
-"Great, oh yeah!"
-"Ah, yes!"
-"All right, this is, eh...an old Beatle song called 'And I Love Her'."
One, two, three.
I GIVE HER ALL MY LOVE,
THAT'S ALL I DO;
AND IF YOU SAW MY LOVE,
YOU'D LOVE HER TOO,
I LOVE HER.
SHE GIVES ME EV´RYTHING,
AND TENDERLY;
THE KISS MY LOVER BRINGS,
SHE BRINGS TO ME,
AND I LOVE HER.
A LOVE LIKE OURS
COULD NEVER DIE
AS LONG AS I
HAVE YOU NEAR ME.
BRIGHT ARE THE STARS THAT SHINE,
DARK IS THE SKY;
I KNOW THIS LOVE OF MINE,
WILL NEVER DIE,
AND I LOVE HER.
OO -
BRIGHT ARE THE STARS THAT SHINE,
DARK IS THE SKY;
I KNOW THIS LOVE OF MINE,
WILL NEVER DIE,
AND I LOVE HER.
OO -
YEAH -
OO -
YEH, YEH, YEH, YEH, YEH, YEH -
OO -
-"Thank you!
Ah, you're a grand bunch tonight, Thank you!
Well, thank you, thank you very much!"
Ó Northern Songs Ltd.
THAT WOULD BE SOMETHING
By Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Eh...this next song was one of...eh...the early album I called 'McCartney'."
-"Why'd you call it that for?"
-"Eh?"
-"Why'd you call it..."
-"I don't know, I don't, it just came to me, a title, 'McCartney'. I thought it was a good title.
Lord knows why!
This one goes like this.
WELL, THAT WOULD BE SOMETHING,
IT REALLY WOULD BE SOMETHING,
THAT WOULD BE SOMETHING,
TO MEET YOU IN THE FALLING RAIN, MOMMA,
MEET YOU IN THE FALLING RAIN.
MEET YOU IN THE FALLING RAIN, MOMMA,
MEET YOU IN THE FALLING RAIN.
YEAH-HEY -
YEAH, YEAH, IN THE FALLING RAIN.
THAT WOULD BE SOMETHING,
REALLY WOULD BE SOMETHING,
THAT WOULD BE SOMETHING,
TO MEET YOU IN THE FALLING RAIN, MOMMA,
MEET YOU IN THE FALLING RAIN.
MEET YOU IN THE FALLING RAIN, MOMMA,
MEET YOU IN THE FALLING RAIN.
MEET YOU IN THE FALLING RAIN, MOMMA,
MEET YOU IN THE FALLING RAIN-AIN.
MEET YOU IN THE FALLING RAIN, MOMMA,
YEAH, IN THE FALLING RAIN, FALLING RAIN,
YEAH, IN THE FALLING RAIN, FALLING RAIN,
YEAH.
YEAH -
WELL, YEAH.
THAT WOULD BE SOMETHING,
IT REALLY WOULD BE SOMETHING,
THAT WOULD BE SOMETHING,
TO MEET YOU IN THE FALLING RAIN, MOMMA,
MEET YOU IN THE FALLING RAIN.
MEET YOU IN THE FALLING RAIN, MOMMA,
MEET YOU IN THE FALLING RAIN.
-"Thank you!"
Ó Northern Songs Ltd.
BLACKBIRD
By John Lennon and Paul McCartney
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Okay! Alright!
I sit down for this one, and...eh...this is a song that a lady at the rehearsal called 'Blackboard'.
I said, no, no, no, that's 'Blackbird'! Subtle difference! Ha! ha! ha!...oh, she's a big fan!
Okay, are you ready, Robbie?
That's her! Now she's nicking me water! Look at this, taking me papers and...
Hey, we're doin' 'Blackboard', luv! ('Blackboard!')
'Blackboard'! (I like this song!")
She likes this one! Dear me, she wants paying next, go off! Get out you! Ha! ha!...it's supposed
to be a serious show. Showing our acoustic, you know, versatility."
BLACKBIRD SINGING IN THE DEAD OF NIGHT,
TAKE THESE BROKEN WINGS AND LEARN TO FLY;
MM-MM, ALL YOUR LIFE,
YOU WERE ONLY WAITING FOR THIS MOMENT TO ARISE.
BLACKBIRD SINGING IN THE DEAD OF NIGHT,
TAKE THESE SUNKEN EYES AND LEARN TO SEE;
MM-MM, ALL YOUR LIFE,
YOU WERE ONLY WAITING FOR THIS MOMENT TO BE FREE.
BLACKBIRD, FLY,
BLACKBIRD, FLY,
INTO THE LIGHT OF THE DARK, BLACK NIGHT.
BLACKBIRD SINGING IN THE DEAD OF NIGHT,
TAKE THESE SUNKEN EYES AND LEARN TO SEE;
MM-MM, ALL YOUR LIFE,
YOU WERE ONLY WAITING FOR THIS MOMENT TO BE FREE,
YOU WERE ONLY WAITING FOR THIS MOMENT TO BE FREE,
YOU WERE ONLY WAITING FOR THIS MOMENT TO BE FREE.
-"Thank you! Thank you! That was 'Blackboard'!"
Ó Northern Songs Ltd.
AIN'T NO SUNSHINE
By Bill Withers
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
AIN'T NO SUNSHINE WHEN SHE'S GONE,
ONLY DARKNESS EV'RY DAY-
AIN'T NO SUNSHINE WHEN SHE'S GONE
AND THIS HOUSE JUST AIN'T NO HOME,
ANY TIME SHE GOES AWAY.
I WONDER THIS TIME WHERE SHE'S GONE, (ooh-ooh)
IS SHE REALLY GOIN' TO STAY? (oh yeh, yeh, yeh, yeh)
AIN'T NO SUNSHINE WHEN SHE'S GONE,
SHE'S ALWAYS GONE TOO LONG,
ANY TIME SHE GOES AWAY. (oh yeh, yeh)
I KNOW, I KNOW, I KNOW, I KNOW, I KNOW, I KNOW,
I KNOW, I KNOW, I KNOW, I KNOW, I KNOW, I KNOW,
I KNOW, I KNOW, I KNOW, I KNOW
THAT I CAN'T LEAVE NO THING ALONE,
AIN'T NO SUNSHINE WHEN SHE'S GONE, WOO - OOH!
AIN'T NO SUNSHINE WHEN SHE'S GONE,
IS SHE REALLY GOIN' TO STAY?
AIN'T NO SUNSHINE WHEN SHE'S GONE,
AND SHE'S ALWAYS GONE TOO LONG,
ANYTIME SHE GOES AWAY, ANYTIME SHE GOES AWAY,
ANYTIME SHE GOES AWAY, ANYTIME SHE GOES AWAY.
AIN'T NO SUNSHINE WHEN SHE'S GONE.
Ó EMI Music Publishing.
GOOD ROCKIN' TONIGHT
By Roy Brown
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"Thank you! Thank you!
Thank you!
Tuning up? Fa, fa, fa...
We used to do whole sets out of tune!
Just parts of this set is out of tune so we're improving, ha! ha!...!
YEAH -
WELL, I HEARD THE NEWS, THERE'S A GOOD ROCKIN' TONIGHT;
YEH, I HEARD THE NEWS, EV'RYBODY ROCKIN' TONIGHT.
WELL, I WANT YOU TO MEET ME BEHIND THE NEW BARN,
DON'T YOU BE WORRIED, I'LL DO YOU NO HARM.
I WANT YOU BRING ALONG MY ROCKIN' SHOES,
'CAUSE TONIGHT WE'RE GONNA ROCK AWAY ALL THE BLUES.
I HEARD THE NEWS, THERE'S A GOOD ROCKIN' TONIGHT.
MM, GONNA ROCK!
WANNA ROCK!
WANNA ROCK!
YEAH, I WANNA ROCK!
GONNA ROCK ALL MY BLUES AWAY.
YEAH, COME ON, ROCK IT!
WELL, I HEARD THE NEWS, THERE'S A GOOD ROCKIN' TONIGHT;
YES, I HEARD THE NEWS, EV'RYBODY ROCKIN' TONIGHT.
WELL, I WANT YOU TO MEET ME BEHIND THE NEW BARN,
DON'T YOU BE WORRIED, I'LL DO YOU NO HARM.
I WANT YOU BRING ALONG MY ROCKIN' SHOES,
'CAUSE TONIGHT WE'RE GONNA ROCK AWAY ALL THE BLUES.
I HEARD THE NEWS, THERE'S A GOOD ROCKIN' TONIGHT.
YEAH, WE'RE GONNA ROCK!
GONNA ROCK!
LET'S ROCK!
OO-OO-OO, ROCK!
GONNA ROCK ALL MY BLUES AWAY.
COME ON, WIXIE!
WEE -
YEAH!
YIHAY!
WELL, I HEARD THE NEWS, THERE'S A GOOD ROCKIN' TONIGHT;
YEH, I HEARD THE NEWS, EV'RYBODY ROCKIN' TONIGHT.
WELL, I WANT YOU TO MEET ME BEHIND THE NEW BARN,
DON'T YOU BE WORRIED, I'LL DO YOU NO HARM.
I WANT YOU BRING ALONG MY ROCKIN' SHOES,
'CAUSE TONIGHT WE'RE GONNA ROCK AWAY ALL THE BLUES.
I HEARD THE NEWS, THERE'S A GOOD ROCKIN' TONIGHT.
EV'RYBODY, COME ON!
WELL, WE'RE GONNA ROCK!
HEY, GONNA ROCK!
LET'S ROCK!
GONNA ROCK!
GONNA ROCK ALL MY BLUES AWAY.
-"Yihay! Thank you very much, thank you,
Alright, thank you very much!"
Ó Lark Music Ltd.
SINGING THE BLUES
By Melvin Endsley
Recorded live at the Limehouse Television Studios, London for MTV's 'Unplugged', 25 January 1991
-"This has been a pleasure for us, even though a bit of a sweat, but it's been a pleasure for us seeing all
your lovely little smiling faces and we hoped you've enjoyed it anyway. If you haven't, too bad
Nothing I can do.
Okay, we're gonna finish off with a little song which was a hit a long time ago and this one is called
'Singing The Blues'."
YEAH -
YEAH -
WELL, I NEVER FELT MORE LIKE SINGIN' THE BLUES,
I NEVER THOUGHT THAT I'D EVER LOSE YOUR LOVE,
WHY'D YOU DO ME THIS WAY?
WELL, I NEVER FELT MORE LIKE CRYIN' ALL NIGHT,
EV'RYTHING'S WRONG AND NOTHING IS RIGHT WITHOUT YOU,
YOU GOT ME SINGIN' THE BLUES.
WELL, THE MOON AND STARS NO LONGER SHINE,
THE DREAM IS GONE I THOUGHT WAS MINE,
THERE'S NOTHING LEFT FOR ME TO DO,
TO CRY-HI-HI-HI OVER YOU, CRY OVER YOU.
WELL, I NEVER FELT MORE LIKE RUNNIN' AWAY,
WHY SHOULD I GO, 'CAUSE I COULDN'T STAY WITHOUT YOU,
YOU GOT ME SINGIN' THE BLUES.
GO!
YEAH!
WELL, THE MOON AND STARS NO LONGER SHINE,
THE DREAM IS GONE I THOUGHT WAS MINE,
THERE'S NOTHING LEFT FOR ME TO DO,
TO CRY-HI-HI-HI OVER YOU, CRY OVER YOU.
WELL, I NEVER FELT MORE LIKE RUNNIN' AWAY,
WHY SHOULD I GO, 'CAUSE I COULDN'T STAY WITHOUT YOU,
YOU GOT ME SINGIN' THE BLUES.
-"Mister Paul Wickens! Come on, boy!
YEAH!
YIHAY!
WELL, THE MOON AND STARS NO LONGER SHINE,
THE DREAM IS GONE I THOUGHT WAS MINE,
THERE'S NOTHING LEFT FOR ME TO DO,
TO CRY-HI-HI-HI OVER YOU, CRY OVER YOU.
WELL, I NEVER FELT MORE LIKE RUNNIN' AWAY,
WHY SHOULD I GO, 'CAUSE I COULDN'T STAY WITHOUT YOU,
HEY, YOU GOT ME SINGIN' THE BLUES,
YOU GOT ME SINGIN' THE BLUES,
YOU GOT ME SINGIN' THE BLUES - OO-OO -.
-"Thank you, thank you, 'Unplugged'!
Thank you!
Thank you! Ow!
Thank you very much, good night!
Thank you! See you!
See you, thanks for coming!"
-"Thank you!"
Ó Acuff Rose Music.
PAUL McCARTNEY'S THE LIVERPOOL ORATORIO
BY
PAUL McCARTNEY & CARL DAVIS
Musicians:
Dame Kiri Te Kanawa. (Mary Dee) - Soprano
Sally Burgess (Miss Inkley/Chief Mourner/Nurse) - Soprano
Jerry Hadley (Shanty) - Tenor
Willard White (Headmaster/Preacher/Mr. Dingle) - Bass
Jeremy Budd - Boy soloist
Royal Liverpool Philharmonic Choir & Choristers Of Liverpool Cathedral
Chorus Master & Master Of The Choristers - Ian Tracey
Royal Liverpool Philharmonic Orchestra
Leader - Malcolm Stewart
Conducted By Carl Davis
Solo Violin -Malcolm Stewart
Solo Cello - Timothy Walden
Solo Trumpet - Ian Balmain
Cor Anglais - Anna Cooper
MOVEMENT I -WAR
1942.
A WORLD AT WAR. SIRENS SOUND AS BOMBS FALL OVER LIVERPOOL AND DESPAIRING COUPLES SHELTER UNDERGROUND. AMID THE BLAZE AND THE CHAOS OF AN AIR RAID, A CHILD IS BORN. AND THERE IS HOPE.
BOY SOLO NON NOBIS SOLUM
SED TOTI MUNDO NATI,
TOTI MUNDO NATI.
BOYS' CHOIR
NON NOBIS SOLUM
SED TOTI MUNDO NATI.
CHORUS
(AH), AH.
SHANTY THE AIR RAID SIREN SLICES THROUGH
A NIGHT IN 1942.
A COUPLE SHELTERING IN THE GLOOM
KNOW ALL TOO WELL THIS WAITING ROOM.
FOR OFTEN THEY HAVE IN THE PAST
BEEN HUDDLED CLOSE AGAINST THE BLAST
OF DOODLE BUGS AND BOMBS GALORE,
THEY CAN'T PUT UP WITH ANY MORE.
SO IT WAS THAT I WAS BORN
INTO THIS WORLD ONE SUMMER MORNING.
AND BREAKING THROUGH THIS BRAND NEW DAY,
I HEAR THE SOUND OF WARNING.
CHORUS
(WAR, AH)
SHANTY OH, WILL IT ALL END HERE?
OR IS THEIR FUTURE ROUND THE CORNER?
YOU'LL BE FORGIVEN IF YOU'RE DOWN ON YOUR KNEES.
WHAT WILL IT BE, WHAT WILL IT?
WHAT WILL WE BE, WHAT WILL WE?
WHAT WILL WE SEE, WHAT WILL WE SEE?
THEY STAY IN DARKNESS UNDERGROUND
UNTIL THEY HEAR THE "ALL CLEAR" SOUND.
AND WEARY EYES WILL SEARCH THE SKY
FOR ANY SIGN OF SUNLIGHT.
FOR ANY SIGN OF SUNLIGHT.
CHORUS
MOTHER AND FATHER HOLDING THEIR CHILD,
NOT KNOWING WHAT FUTURE MAGIC LIES INSIDE.
WE OPEN OUR HEARTS,
YOU OPEN THE DOOR
TO PEACE AND HAPPINESS FOR EVERMORE,
FOR US FOR EVERMORE.
MOVEMENT II - SCHOOL
1953.
THE WAR BABY- SHANTY - NOW 11 YEARS OLD AND AT SCHOOL, CELEBRATES HIS LIVERPOOL UPBRINGING. WITH CLASSMATES, HE SKIPS LESSONS TO "SAG OFF" AND SUNBATHE IN THE GRAVEYARD OF LIVERPOOL CATHEDRAL. SLEEPING ON A GRAVESTONE, HE DREAMS OF GHOSTS OF THE PAST AND THE FUTURE. ONE OF THE GHOSTS, MARY DEE, IS HIS BRIDE-TO-BE. WAKING AND BACK IN SCHOOL, SHANTY AND HIS CLASSMATES ARE TAUGHT SPANISH IN THE FORM OF A FOLK SONG BY THEIR NEW MISTRESS, MISS INKLEY.
BOYS
WE'RE HERE IN SCHOOL TODAY
TO GET A PERFECT EDUCATION,
YES, WE'RE GOING UP.
WE'RE KEEN TO LEARN THE RULES AND LAWS THAT CIVILISATION TAUGHT US,
YES, WE'RE GROWING UP.
NOT FOR OURSELVES,
BUT FOR THE WHOLE WORLD WERE WE BORN.
AND WE WERE BORN IN LIVERPOOL.
OUR TEACHERS SAY THAT IGNORANCE WILL ALWAYS DRAG US DOWN,
IT'S LIKE A NAGGING COUGH.
SHANTY B
UT I CAN SAY THAT LOOKING BACK,
THE MOST IMPORTANT THING I FOUND WAS SAGGING OFF!
NOT FOR THE WHOLE WORLD.
BUT FOR YOURSELF WERE YOU BORN.
AND YOU WERE...
SHANTY AND BOYS
BORN IN LIVERPOOL.
BOYS NOT BIRMINGHAM, NOR EDINBURGH,
NOT MANCHESTER OR SUNDERLAND.
SHANTY
BEING BORN WHERE YOU WERE BORN,
CARRIES WITH IT CERTAIN RESPONSIBILITIES.
BOYS
THIS SCHOOL IS GOOD FOR US.
SHANTY THIS SCHOOL IS ONLY GOOD FOR THOSE
WHO WANT TO LEARN FROM BOOKS.
YOU'LL LOSE YOUR SENSE OF PURPOSE...
BOYS
BUT WE DARE NOT ANSWER BACK,
WE'RE SCARED OF TEACHER'S LOOKS.
NOT FOR OURSELVES,
BUT FOR THE WHOLE WORLD WERE WE BORN.
AND WE WERE BORN IN LIVERPOOL.
SHANTY
NOT COVENTRY.
HEADMASTER OR SOLIHULL.
BOYS NOT SCARBOROUGH.
SHANTY NOR INVERNESS.
BEING BORN WHERE YOU WERE BORN
CARRIES WITH IT CERTAIN RESPONSIBILITIES.
HEADMASTER
WALK IN SINGLE FILE OUT OF THE CLASSROOM,
DOWN THE STAIRS AND INTO THE PLAYGROUND.
BOYS
THROUGH THE SCHOOL GATES,
CROSS THE ROAD, AND OVER THE CEMETERY FENCE.
DOWN THE HILL TO WHERE THE GRAVE-STONES
LIE INVITING IN THE SUN.
SETTLE DOWN, SETTLE DOWN,
LET THE AFTERNOON SLIP BY.
SETTLE DOWN, SETTLE DOWN,
IT'S THE PERFECT PLACE FOR A KIP.
SHANTY FALLS ASLEEP ON A GRAVE-STONE AND DREAMS
SHANTY KEPT IN CONFUSION, TRAPPED BY ILLUSION,
THINKING OF SPEAKING MY MIND.
DREAMS OF THE FUTURE, GHOSTS OF THE PAST LEFT BEHIND.
CONSTANTLY DRIFTING, ENDLESSLY LIFTING
MORE WEIGHT THAN ONE MAN CAN BEAR.
INTO THE FUTURE, GHOSTS OF THE PAST EV'RYWHERE.
MEN'S CHORUS (GHOSTS)
YOU'RE SLEEPING AMONGST US,
WE'RE IN YOUR DREAM.
WHO ARE YOU? WHY CALL US?
WHAT DOES THIS MEAN?
DISTURBING OUR SLUMBER,
YOU MOVE SO FAST.
SHANTY
GHOSTS OF THE PAST.
TOSSING AND TURNING, SOMEHOW I'M LEARNING
SECRETS I'D RATHER NOT KNOW.
CAN'T IT BE SIMPLE? WHY DOES IT HAVE TO BE SO?
MARY DEE (AS GHOST)
I'LL ALWAYS BE HERE, I'LL NEVER LEAVE YOU,
I'LL ALWAYS BE IN YOUR MIND.
DREAMS OF THE FUTURE, GHOSTS THAT THE PAST LEFT BEHIND.
WOMEN S CHORUS (GHOSTS)
YOU RE SLEEPING AMONGST US.
WE'RE IN YOUR DREAM.
WHO ARE YOU? WHY CALL US?
WHAT DOES THIS MEAN?
FULL CHORUS (GHOSTS)
DISTURBING OUR SLUMBER,
YOU MOVE SO FAST.
SHANTY AND MARY DEE
(AS GHOST)
GHOSTS OF THE PAST.
LATER, BACK IN SCHOOL
HEADMASTER BOYS, THIS IS YOUR TEACHER.
HER NAME IS MISS INKLEY.
SHE WILL TEACH YOU SPANISH.
SHE WAS IN THE WAR FIGHTING WITH THE TROOPS.
YOU MAY CALL HER SIR!
BOYS
SIR?
MISS INKLEY FIRST OF ALL TODAY YOU WILL LEARN A SONG
IN A FOREIGN TONGUE.
YOU WILL FOLLOW ME AS I SAY THE WORDS.
WE WILL NOW BEGIN...
TRES CONEJOS
BOYS
TRES CONEJOS
MISS INKLEY EN UN ARBOL
BOYS EN UN ARBOL
MISS INKLEY TOCANDO
BOYS TOCANDO
MISS INKLEY EL TAMBOR
BOYS EL TAMBOR.
MISS INKLEY QUE SI
BOYS QUE SI
MISS INKLEY QUE NO
BOYS QUE NO
MISS INKLEY QUE SI. LO HE VISTO YO.
HEADMASTER AHEM!
MISS INKLEY TRES CONEJOS EN UN ARBOL
TOCANDO EL TAMBOR.
QUE SI, QUE NO,
QUE SI.
LO HE VISTO YO.
SHANTY AND BOYS
TRES CONEJOS EN UN ARBOL
TOCANDO EL TAMBOR.
QUE SI, QUE NO,
QUE SI.
LO HE VISTO YO.
BOYS
TRES CONEJOS
MISS INKLEY THREE RABBITS
BOYS EN UN ARBOL
MISS INKLEY IN A TREE
BOYS TOCANDO
MISS INKLEY PLAYING
BOYS EL TAMBOR
MISS INKLEY THE DRUM.
BOYS QUE SI
MISS INKLEY WHY YES
BOYS QUE NO
MISS INKLEY WHY NO
BOYS QUE SI.
LO HE VISTO YO.
MISS INKLEY
WHY YES.
I HAVE SEEN IT,
HEADMASTER
AHEM!
TRES CONEJOS EN UN ARBOL
TOCANDO
SHANTY AND HEADMASTER EL
TAMBOR.
HEADMASTER QUE SI
SHANTY QUE SI
MISS INKLEY QUE. ..
ALL NO.
QUE SI.
LO HE VISTO YO.
BOYS AND CHORUS
NOT FOR OURSELVES,
BUT FOR THE WHOLE WORLD WERE WE BORN.
AND WE WERE BORN IN LIVERPOOL.
HEADMASTER
NOT BIRMINGHAM.
MISS INKLEY NOR EDINBURGH.
BOYS NOT MANCHESTER.
SHANTY OR SOLIHULL.
BOYS AND CHORUS BEING BORN WHERE YOU WERE BORN
BOYS AND WOMEN'S CHORUS CARRIES WITH IT CERTAIN RESPONSI..
MEN CARRIES WITH IT CERTAIN RESPONSI..
MISS INKLEY AND
HEADMASTER CARRIES WITH IT CERTAIN RESPONSIBILITIES.
MOVEMENT III-CRYPT
1959
SHANTY, NOW A CONFUSED TEENAGER, GOES TO A CHURCH DANCE IN THE CRYPT; HE DOUBTS HIS AND GOD'S EXISTENCE. HERE, MARY DEE MATERIALISES - STILL DREAMLIKE - TO HIM AGAIN. STILL HE CANNOT SEE HER. AS HE SINGS OF HIS VISION OF THE FUTURE, MARY DEE BREAKS THE NEWS THAT HIS FATHER HAS DIED. SHANTY IS LEFT SAD AND ALONE.
SHANTY
AND SO IT WAS THAT I HAD GROWN
INTO A YOUTH UNCERTAIN, THROWN
AMONGST THE LIONS AND THE LAMBS.
TO PASS THE TIME WE WATCHED THE CHILDREN DANCE.
I USED TO COME HERE WHEN THIS PLACE WAS A CRYPT.
NOW THE MUSIC PLAYS.
OH, DON'T YOU SOMETIMES WISH THEY'D STICK TO THE SCRIPT
AS THE LOCAL PREACHER SAYS?
RAIN FROM HEAVEN WILL BLESSINGS BRING,
BEHOLD THE HARVEST GROWN.
RAIN FROM HEAVEN FALLS DOWN ON YOU,
BUT ME, I FEEL ALONE.
PREACHER
(SYMPATHETICALLY)
ALONE.
SHANTY ALONE.
PREACHER IF THEY WON'T COME TO WORSHIP GOD IN A CHURCH
SOMETHING MUST BE DONE.
WE HAVE TO INSTIGATE A NATION-WIDE SEARCH
FOR A WAY TO MAKE IT FUN.
RAIN FROM HEAVEN WILL BLESSINGS BRING,
BEHOLD THE HARVEST GROWN.
SHANTY AND PREACHER
RAIN FROM HEAVEN FALLS DOWN ON YOU,
SHANTY BUT ME, I FEEL ALONE,
ALONE.
HERE NOW, WHAT AM I DOING HERE NOW?
HEAR ME, WHY DO YOU NEVER HEAR ME?
WHY DO YOU NEVER HEAR ME?
MARY DEE (AS HALF-GHOST)
AND WOMEN'S CHORUS
I'LL ALWAYS BE HERE. (AH -)
I'LL NEVER LEAVE YOU. (AH -)
I'LL ALWAYS BE IN YOUR MIND.
DREAMS OF THE FUTURE, (AH-)
GHOSTS OF THE PAST LEFT BEHIND.
SHANTY
THOUGHT I HAD A VISION, LYING IN A GRAVEYARD,
THOUGHT I HEARD A MELODY INSIDE.
COULD IT BE THE FUTURE,
SPEAKING WITH THE VOICE OF THOSE WHO DIED?
THOUGHT I SAW A KINGDOM, HAPPINESS AND LAUGHTER,
SOMEWHERE FOR AN INNOCENT TO PLAY.
IS THERE ANY JUSTICE?
DO THESE THINGS STILL HAPPEN IN THIS WAY?
MARY DEE
DON'T TELL HIM NO, IT ISN'T FAIR.
FOR HE WAS TOLD BY THOSE WHO KNOW
THERE WAS LOVE EV'RYWHERE.
SHANTY
LOVE EV'RYWHERE.
MARY DEE NOW'S THE TIME TO TELL HIM,
WHILE HIS MOTHER'S CRYING.
BREAK IT TO HIM GENTLY AS SHE WEEPS.
LET HIM KNOW HIS FATHER
WILL BE WELL LOOKED AFTER, WHERE HE SLEEPS.
SHANTY AND
CHORUS (GHOSTS) (
HE'S SLEEPING AMONGST US.)
DON'T SAY IT'S SO,
(HE'S IN OUR DREAMS.)
IT ISN'T FAIR.
(DON'T WORRY.)
FOR I WAS TOLD BY THOSE WHO KNOW
(HE'S WITH US NOW.)
THERE WAS LOVE EV'RYWHERE.
ALONE.
MOVEMENT IV-FATHER
1959.
AS MOURNERS ARRIVE FOR THE FUNERAL, SHANTY THINKS ON HIS CONFUSION, FEARS AND UPSET AT THE DEATH OF HIS FATHER. HE REFLECTS AND WORRIES ABOUT THE RELATIONSHIP THEY HAD, DISTRESSED AT HIS FATHER'S MORTALITY. FINALLY HE REALISES FATHERS ARE ONLY HUMAN AND ASKS HIS FORGIVENESS.
CHORUS (MOURNERS)
FATHER, FATHER.
FATHER, FATHER.
CHIEF MOURNER AND
WOMEN'S CHORUS
(MOURNERS)
O FATHER, YOU HAVE GIVEN TIME TO YOUR CHILDREN.
YOU (WE BEG OF YOU)
WILL LOOK AFTER (LOOK AFTER US)
THOSE IN (FATHER) YOUR CARE. (FATHER)
FATHER.
(
INTO THE FUTURE, IN EVER-GROWING CIRCLES)
CHIEF MOURNER YOU WILL BE THERE,
AND YOUR SPIRIT WILL KEEP US MOVING
IN THE RIGHT DIRECTION.
FULL CHORUS (MOURNERS
) (AH)
O FATHER, YOU HAVE GIVEN TIME TO YOUR CHILDREN.
YOU WILL LOOK AFTER THOSE IN YOUR CARE.
INTO THE FUTURE, IN EVER-GROWING CIRCLES,
YOU WILL BE THERE.
CHIEF MOURNER
AND YOUR SPIRIT WILL KEEP US MOVING
IN THE RIGHT DIRECTION.
SHANTY
HEY, WAIT A MINUTE, YOU DIDN'T TELL ME,
I FELL INTO A PLACE I DIDN'T WANNA GO.
IT DOESN'T MATTER,
I SWEAR I'LL NEVER GO THROUGH ANOTHER OF THOSE THINGS IN MY LIFE.
YOU SHOULD HAVE WARNED ME OF ALL THE DANGER,
BUT MAYBE THERE WERE SOME THINGS
YOU JUST DIDN'T KNOW.
BUT YOU'RE MY FATHER,
AND SURELY FATHERS OUGHT TO KNOW ABOUT MOST
THINGS IN THIS LIFE.
DON'T TELL ME, I THOUGHT YOU WERE THE BEST,
YOU WERE ONLY HUMAN AND A LOT LIKE ALL THE REST.
LIKE ME YOU WERE FRAGILE, NOT SECURE
WITH THE FAST TIDE OF LIFE
THAT WOULD SPEED PAST YOUR DOOR.
CHORUS (MOURNERS)
FATHER, FATHER, FATHER.
BOYS AND CHORUS TOTI MUNDO NATI.
SHANTY AND CHORUS (FATHER, AH -)
I FORGIVE YOU, WILL YOU FORGIVE ME?
CHIEF MOURNER
AND CHORUS YOU WILL BE THERE,
AND YOUR SPIRIT WILL KEEP US MOVING
IN THE RIGHT DIRECTION
MOVEMENT V-WEDDING
A FEW YEARS LATER.
AS SHANTY MUSES ON THE TOP OF A BUS, MARY DEE IS DRAWN TO HIM. SHE SOOTHES HIS SELF-DOUBTS AND CALMS HIS IMPATIENT AMBITIONS AND THEY PLEDGE THEIR LOVE AND MARRY.
SHANTY
I KNOW I SHOULD BE GLAD OF THIS
FOR TO BE THANKFUL IS TO KNOW.
I HOPE THAT YOU WILL STILL BE HERE,
THE TIME IS DRAWING NEAR FOR US TO KNOW.
MARY DEE
(NO LONGER AS A GHOST)
I'LL ALWAYS BE HERE
AS LONG AS YOU'VE GOT TIME FOR ME.
WHETHER IT'S JOY OR SADNESS,
IT DOESN'T MATTER -
AS LONG AS YOU HAVE TIME FOR ME,
WE WILL BE TOGETHER.
SHANTY
I KNOW THAT TO BE THANKFUL IS
NOT WHAT I NEED,
BUT JUST FOR RIGHT NOW IT'S ALL I'VE GOT.
I KNOW THAT PATIENCE IS A VIRTUE,
BUT AT THIS TIME IN MY LIFE I NEED SOMETHING MORE.
SOMETHING IN THE AIR IS SLOWLY DRAWING US TOGETHER.
MARY DEE
SIT TIGHT, BE BRAVE, AND BELIEVE IN SOMETHING MORE.
SHANTY IF I COULD SIT STILL, IF I COULD BE COURAGEOUS.
I HAVE A FEELING THAT THERE'S SOMETHING
DRAWING US INEVITABLY TOWARDS IT.
MARY DEE IF YOU HAVE PATIENCE, YOU NEEDN'T WAIT FOREVER.
THIS IS THE STORY THAT THEY TELL THE CHILDREN
WHO ARE ALWAYS ASKING THE QUESTION.
SHANTY I KNOW SOMEONE IS MAKING SENSE.
MARY DEE WE HAVE A COMMON SENSE.
(AH -)
SHANTY AND CHORUS (AH -)
BOYS FATHER, HEAR OUR HUMBLE VOICES,
WE WILL PRAISE THEE ALL OUR DAYS.
CLEANSE OUR SINS, RELEASE OUR MINDS,
WE WILL BE TOGETHER.
PREACHER AND
WOMEN'S CHORUS LORD, DELIVER THY SALVATION
UNTO THOSE THAT BLESS THY NAME.
FULL CHORUS LET THEM LIVE IN HARMONY.
SOLO QUARTET WITH THY HOLY SPIRIT.
CHORUS HOSANNA, HOSANNA.
GLORIA IN EXCELSIS DEO
MARY DEE AND SHANTY GOD IN HEAVEN, SAVE THY THUNDER
FOR THE ENEMIES OF LOVE.
BATHE US IN THY HOLY LIGHT.
WE WILL LIVE TOGETHER.
CHORUS AMEN.
MOVEMENT VI- WORK
MARY DEE'S OFFICE.
SHE RUNS A HECTIC BUSINESS STAFFED ENTIRELY BY WOMEN. MARY DEE BUSIES AMONG THE COMPUTERS AND FAX MACHINES, ISSUING ORDERS AS HER GIRLS LAPSE THEIR CONCENTRATION TO FANTASISE OF LOVE.
MEANWHILE, AT SHANTY'S OFFICE - WHERE HIS RANK DOES NOT MATCH MARY DEE'S SUCCESS - HE IS CAJOLED BY COLLEAGUES TO WORK LESS AND PLAY MORE. AS ONE COLLEAGUE, MR DINGLE, TEMPTS SHANTY TO SLIP OFF TO THE PUB, AT HOME MARY DEE INDICATES THAT SHE IS PREGNANT.
MARY DEE'S OFFICE
WOMEN'S CHORUS
(OFFICE STAFF) WORKING WOMEN AT THE TOP, WILL IT EVER STOP?
PAPERS PILING UP AND UP.
DAYS GO BY LIKE MONDAY, TUESDAY: WORK UNTIL WE DROP!
ALL THE TIME LOOKING GREAT,
RUNNING LATE,
IN A STATE, LOSING WEIGHT,
RUNNING LATE AGAIN AND AGAIN.
MARY DEE LET ME HAVE THE LETTER THAT YOU TYPED UP YESTERDAY.
DID MR. FISHER SEND THE FAX TO LA?
MAKE SURE THE FLOWERS DON'T ARRIVE TOO LATE
AND CANCEL MY APPOINTMENT AT THE SQUASH CLUB.
WOMEN'S CHORUS WHAT CLUB?
MARY DEE SQUASH CLUB.
WOMEN'S CHORUS WORKING WOMEN ON THE GO, WILL THEY EVER KNOW
WHAT IT TAKES TO RUN THE SHOW?
DAYS GO BY LIKE LIGHTNING,
WILL IT EVER SLOW?
HALF THE TIME FEELING DEAD,
OVER-FED,
ACHING HEAD,
MISS MY BED.
OVER-FED AGAIN AND AGAIN.
MARY DEE DID THEY EVER PICK UP THE ACCOUNTANT'S RESUME?
MAKE SURE THE CAR ARRIVES IN TIME FOR THE PLANE.
GET ME THE DETAILS OF THE TAKE-OVER BID
AND WRITE ANOTHER LETTER TO THE MINISTER.
WOMEN'S CHORUS MINISTER?
MARY DEE THE MINISTER OF LOVE.
WOMEN'S CHORUS LOVE. (LA -)
MARY DEE WHERE'S THE TIME FOR STANDING STILL?
WOMEN'S CHORUS HOLDING HANDS AND WALKING FREE.
MARY DEE WHERE'S THE TIME FOR YOU...
MARY DEE AND
WOMEN'S CHORUS AND ME?
VIOLIN SOLO
MARY DEE DID I SIGN THE LETTER THAT YOU TYPED UP YESTERDAY?
IS MR. FISHER ON THE FLIGHT TO L.A.?
HE'S GOT THE DETAILS OF THE TAKE-OVER BID
AND I'LL BE IN A MEETING WITH THE MINISTER.
WOMEN'S CHORUS MINISTER, MINISTER OF LOVE, - LOVE -.
MARY DEE FEELING CONFUSION, FEAR OF INTRUSION,
FRIGHTENED OF LOSING MY MIND.
DREAMS OF THE FUTURE,
THOUGHTS OF MYSELF LEFT BEHIND.
WOMEN'S CHORUS WORKING WOMEN AT THE TOP.
MARY DEE WILL I EVER STOP?
ORDERS PILING UP AND UP.
WOMEN'S CHORUS DAYS GO BY LIKE THURSDAY, FRIDAY.
MARY DEE ALWAYS ON THE GO.
PART OF MYSELF LIVES INSIDE,
PART OF MYSELF LIVES INSIDE.
TEMPO 1 (ORCHESTRA)
SHANTY'S OFFICE
MEN'S CHORUS WHEN YOU ASK A WORKING MAN, 'DOES HE EVER STOP?'
WILL HE MAKE IT TO THE TOP?
SHOULD HE TAKE A BREAK ON SUNDAY?
WORK UNTIL HE DROP.
SHANTY
MY EARLY DAYS IN SCHOOL REQUIRED
A LOT OF CONCENTRATION,
I WAS FINDING OUT.
BUT NOW IN LATER YEARS I FIND
MY COLLEAGUES HERE ARE MORE INCLINED TO MESS ABOUT.
MY WIFE AT HOME WOULD SURELY NEVER UNDERSTAND
IF I SO MUCH AS LOOK AT SOMEONE ELSE
MEN'S CHORUS
IF MEN HAD BEEN THE FAITHFUL SORT
IT SURELY WOULD HAVE CHANGED THE COURSE OF HISTORY.
DON'T ASK ME WHO THE FIRST MAN WAS
THAT DARED TO TAKE A MISTRESS, IT'S A MYSTERY.
YOUR WIFE AT HOME WOULD SURELY HAVE TO UNDERSTAND
IF YOU WERE EVER SEEN WITH SOMEONE ELSE.
MR. DINGLE
OH, NO, SHE WON'T!
MEN'S CHORUS YOU WOULDN'T DARE!
SHANTY OH, YES, I WOULD!
MR, DINGLE OH, NO, YOU DON'T!
MEN'S CHORUS ALL THINGS MATRIMONIAL
CARRY WITH THEM CERTAIN RESPONSIBILITIES.
SHANTY AND
MR. DINGLE
(AH -)
CARRY WITH THEM CERTAIN RESPONSIBILITIES.
MR. DINGLE
LET'S FIND OURSELVES A LITTLE HOSTELRY
WHERE YOU CAN SIT AND HAVE A DRINK ON ME.
WE'LL GET A CHANCE
TO TALK ABOUT ANYONE WHO BOTHERS US.
THERE'S SO MUCH MORE TO LIFE THAN MEETS THE EYE,
IT'S QUITE ENOUGH TO MAKE A THROAT FEEL DRY.
SO LET'S REPAIR
TO WHERE NO-ONE ELSE WOULD DARE TO BOTHER US.
LET'S HAVE A DRINK WHILE WE THINK WHAT TO DO.
AND WHILE WE THINK,
I'LL ACCEPT A LITTLE DRINK FROM YOU.
IF EVERYBODY TOOK A SERIOUS VIEW OF LIFE,
WE ALL WOULD FEEL THE SAME AS YOU.
BUT, AS IT IS,
WE DON'T, SO IT ISN'T GONNA BOTHER US.
LET'S HAVE A DRINK WHILE WE THINK WHAT TO DO.
AND WHILE WE THINK,
I'LL ACCEPT A LITTLE DRINK FROM YOU.
HA, HA, HA, HA, HA.
MARY DEE PART OF MYSELF GROWS INSIDE.
MOVEMENT VII-CRISES
MARY DEE SINGS TO THE CHILD INSIDE HER, FRETTING FOR ITS FUTURE. SHANTY ARRIVES HOME SLIGHTLY DRUNK, SHORT-TEMPERED AND DEMANDING DINNER. THEY ROW OVER MONEY AND SHANTY'S FEELINGS OF INADEQUACY. SHANTY WOUNDS HER BY DOUBTING HER LOVE AND MARY DEE STORMS OUT - TELLING HIM, AS SHE GOES, THAT SHE IS PREGNANT. IN HER BLIND ANGER AND HURT, SHE RUNS IN FRONT OF A CAR AND IS KNOCKED DOWN.
IN HOSPITAL, A NURSE WILLS HER TO LIVE AS - IN DELIRIUM - MARY DEE SEES THE GHOSTS AGAIN. SHE FIGHTS TO CLING ON TO THE LIFE OF HER BABY AS THE GHOSTS TRY TO STEAL IT FROM HER. AT HER BED, SHANTY PRAYS, PROMISING TO REFORM IF ONLY MARY DEE AND THE BABY ARE SAVED.
ALLEGRO MOLTO (ORCHESTRA)
MARY DEE AND SHANTY'S HOME
MARY DEE
(ALONE IN BEDROOM) THE WORLD YOU'RE COMING INTO,
IS NO EASY PLACE TO ENTER.
EV'RY DAY IS HAUNTED BY THE ECHOES OF THE PAST.
FUNNY THOUGHTS AND WILD, WILD DREAMS
WILL FIND THEIR WAY INTO YOUR MIND.
THE CLOUDS THAT HANG ABOVE US,
MAY BE FULL OF RAIN AND THUNDER.
BUT IN TIME THEY SLIDE AWAY
TO FIND THE SUN STILL THERE.
LAZY DAYS AND WILD, WILD FLOWERS
WILL BRING SOME JOY INTO YOUR HEART.
AND I WILL ALWAYS LOVE YOU,
I'LL WELCOME YOU INTO THIS WORLD.
MARY DEE
AND BOY SOLO
YOU'RE MINE AND I WILL LOVE YOU.
TEMPO 1 (ORCHESTRA)
SHANTY WHERE'S MY DINNER?
I'VE BEEN WORKING HARD ALL DAY
AND A MAN CAN WORK UP QUITE AN APPETITE THAT WAY.
WHAT'S FOR DINNER?
SOMETHING NOURISHING AND HOT?
I COULD TACKLE QUITE A LOT OF 'YOU KNOW WHAT'
AND ALL I'VE GOT TO SAY TO YOU IS 'WHY NO DINNER?'
I'VE GOT NOTHING ON MY PLATE.
IT'S EXPECTED OF A MATE.
WHY'D 'YA HAVE TO MAKE ME WAIT?
WHERE'S MY...
MARY DEE
THIS IS THE WAY WE PUT OUT THE CANDLE,
FAREWELL TO CHILDHOOD.
DEEP IN THE WILD WOOD A FIRE GOES OUT,
AND WHAT ARE WE LEFT WITH NOW WE ARE GROWN UP?
SHANTY
THIS IS THE WAY WE PULL UP THE ANCHOR,
GOODBYE TO ROMANCE.
OUT ON THE OCEAN A GOOD SHIP IS LOST,
AND WHAT ARE WE LEFT WITH NOW WE ARE GROWN UP?
MARY DEE
TIME TO BE THINKING OF REAL LIFE FEELINGS.
I MUST GET ON.
SHANTY
TIME TO BE BUYING THOSE LITTLE TRINKETS I CAN'T AFFORD.
LORD KNOWS I WANT TO GIVE HER THE BEST,
BUT WHERE WILL I FIND THE REST OF THE CASH?
MARY DEE
IT'S ONE MAD DASH TO FAME AND FORTUNE.
THE CYMBALS CLASH AND THEN YOU'RE GONE.
SHANTY
SO WHAT ARE MY CHANCES OF GETTING PROMOTION?
THE WAY THINGS ARE GOING, IT DOESN'T LOOK GOOD.
MARY DEE
WHAT GOOD IS COMPLAINING, IT'S GETTING YOU NOWHERE.
AND I'M IN THE MIDDLE OF YOUR WHIRLWIND,
IN THE EYE OF YOUR STORM.
SHANTY
LET'S NOT ARGUE.
MARY DEE SPARE ME YOUR EXCUSES.
SHANTY NO EXCUSES.
MARY DEE PARDON MY ANGER.
SHANTY WHY ARE YOU DRIVING ME SO HARD?
MARY DEE I CAN'T BELIEVE WHAT I'M HEARING.
SHANTY YOU DIDN'T COOK ANY DINNER.
MARY DEE I'M NOT A SLAVE, I WORK FOR A LIVING,
I CAN COMMAND THE RESPECT OF MY PEERS.
WHERE DID YOU GO?
YOU WERE OUT WITH THE BOYS.
SHANTY
SO WHAT IF I WENT FOR A DRINK?
YOU'D THINK TO LISTEN TO YOU
IT WAS SOME SORT OF CRIME.
MARY DEE
I NEEDED SOMEONE TO TALK TO
BUT ALL I COULD FIND WAS MYSELF.
IF YOU WERE THE SAME MAN I MARRIED,
YOU'D KNOW THAT YOUR WOMAN NEEDS LOVE.
SHANTY
AND WHAT ABOUT ME?
I SUPPOSE I DON'T MATTER.
I'M NOT EVEN SURE
IF YOU EVER LOVED ME.
MARY DEE
RIGHT!
THAT'S IT!
I'M OFF!
OH, AND BY THE WAY...YOU'RE ABOUT TO BECOME A FATHER.
SHE RUSHES OUT INTO THE STREET
CHORUS STOP.
WAIT.
HOLD ON.
HOLD ON TO LIFE.
STAY.
HOSPITAL
NURSE DO YOU KNOW WHO YOU ARE
AS YOU LIE THERE SLEEPING?
TAKE THE TIME TO REST YOUR TROUBLED HEAD,
I WILL WATCH OVER YOU TILL THE MOMENT YOU AWAKE.
CAN YOU HEAR WHAT I SAY
AS YOU LIE THERE SLEEPING?
WHEN MISFORTUNES CROWD INTO YOUR DAY
AND THE DARK SIDE OF LIFE
HAS BECOME TOO MUCH TO BEAR,
I WILL STAY BY YOUR SIDE.
THOUGH WE DON'T YET KNOW
IF THERE'S SOMETHING WRONG,
YOU WERE BROUGHT IN FROM THE STREET.
AND A WITNESS SAID YOU GAVE A SHOUT
AS YOU FELL DOWN AT HIS FEET.
WE ARE RUNNING TESTS
AND SOON THE RESULTS WILL BE KNOWN.
BUT I FEEL I HAVE TO WARN YOU,
THERE MAY BE COMPLICATIONS.
BUT WE DON'T YET KNOW IF YOUR CHILD IS IN DANGER,
WE SHALL HAVE TO WAIT AND SEE.
IN THE MEANTIME THERE IS NOTHING MORE FOR YOU TO DO
BUT SLEEP.
BOYS
GHOSTS OF THE PAST LEFT BEHIND.
MEN'S CHORUS
(GHOSTS) YOU'RE SLEEPING AMONGST US, WE'RE IN YOUR DREAM.
NURSE YOU'RE DREAMING. TRY TO REST, MY CHILD.
MEN'S CHORUS
(GHOSTS) YOU CALLED US, WE HEARD YOU AND WE ARE HERE.
NURSE TO SAVE YOUR CHILD YOU MUST BE STILL.
MEN'S CHORUS
(GHOSTS) WE'RE READY TO LISTEN TO WHAT YOU ASK.
NURSE GO TO SLEEP
WOMEN'S CHORUS
(GHOSTS) YOU'RE CROSSING THE WATER, THE TIDE IS STRONG.
MARY DEE NO!
WOMEN'S CHORUS
(GHOSTS) YOUR CHILD IS DRAWN TO US, INTO OUR THRONG.
SHANTY NO!
FULL CHORUS
(GHOSTS) THIS CHILD IS MOST WELCOME, SOON ONE OF US.
MARY DEE NO, I TELL YOU!
YOU'LL NEVER GET THROUGH, I'LL NEVER LET YOU.
NO-ONE IS STEALING THIS CHILD.
I'M NOT AFRAID OF GHOSTS THAT THE PAST LEFT BEHIND.
SHANTY
LET HER RECOVER, THEN LET ME LOVE HER
UNTIL WE RUN OUT OF TIME.
AND IN THE FUTURE
I WILL PROMISE TO BE THE MAN SHE HAD IN MIND.
NURSE
BE STILL, BE CALM, YOUR CHILD IS SAFE.
MARY DEE DO WE LIVE IN A WORLD WITH AN UNCERTAIN FUTURE
WHERE A MAN IS UNSURE OF HIS FATE?
WILL WE COME TO OUR SENSES, BE FAIR TO EACH OTHER?
CAN WE TURN IT AROUND BEFORE IT'S TOO LATE?
DO I KNOW THAT WE HAVE THE ANSWER?
YES, I KNOW NOW WE ARE TOGETHER.
SO WE MUST BEAR IN MIND THAT THE PAGES ARE TURNING
AND THE SAND WILL RUN OUT OF THE GLASS.
IN THE HEAT OF THE BATTLE
WE WILL DRIVE OUT THE DEMONS
AND WE'LL CARRY THE DAY, FOR WE MUST SAVE THE CHILD.
MARY DEE AND NURSE
(AH -)
MARY DEE AND SHANTY WE HAVE COME TO OUR SENSES,
WE ARE PART OF EACH OTHER
AND WE'LL CARRY THE DAY, FOR WE MUST SAVE THE CHILD.
CHORUS
DO YOU KNOW THAT YOU HAVE THE ANSWER?
MARY DEE AND SHANTY YES, WE KNOW NOW.
CHORUS WE KNOW NOW.
MARY DEE AND SHANTY WE KNOW NOW.
WE ARE TOGETHER.
MOVEMENT VIII - PEACE
SHANTY SINGS TO HIS NEW-BORN CHILD, CELEBRATING THE WONDER OF BEING. IN A SERMON, THE PREACHER SINGS OF THE FRAIL MAGIC OF FAMILY LIFE AS MARY DEE AND SHANTY PLEDGE A FUTURE WITH THEIR CHILD, TOGETHER FOREVER, CELEBRATING A LOVE THAT WILL NOW SURVIVE.
SHANTY AND SO IT WAS THAT YOU WERE BORN
INTO THIS WORLD ONE WINTER MORNING.
WITH A CHILDISH INNOCENCE YOU SMILED AT ME
AND I WAS BORN AGAIN.
BOY SOLO NON NOBIS SOLUM SED TOTI MUNDO
BOYS' CHOIR NATI, MUNDO NATI.
BOY SOLO TOTI MUNDO NATI.
MEN'S CHORUS GOD IS GOOD AND HE WILL BE OUR SAVIOUR,
ALL WE NEED IS IN HIS POWER TO GIVE US.
LET THE LIGHT THAT LIES WITHIN HIS HEART
ILLUMINATE OUR BEING.
FULL CHORUS GOD IS GOOD AND WITH THIS THOUGHT TO GUIDE US
WE WILL LIVE IN JOYFUL CONTEMPLATION.
LET THE LOVE THAT LIVES WITHIN YOUR HEART
ILLUMINATE YOUR BEING.
PREACHER WHAT PEOPLE WANT IS A FAMILY LIFE,
THE STRENGTH OF A HOME AND A MOAT ROUND THE CASTLE.
PULL UP THE DRAWBRIDGE,
STAYING AT HOME WITH THE FAMILY.
ALL PEOPLE WANT IS A FAMILY LIFE,
SOMETIMES THEY FIND THAT IT ISN'T SO EASY.
PEOPLE CAN ARGUE,
LIFE CAN BE HARD ON A FAMILY.
BASSES MUM'S IN THE KITCHEN, SHE WON'T SPEAK TO DAD.
ALTOS UNCLE'S ASHAMED OF THE GOOD TIME HE HAD.
TENORS BROTHERS AND SISTERS ARE LIFTING THE ROOF
WITH THE MUSIC THEY PLAY ALL NIGHT.
PREACHER BUT PEOPLE STILL WANT A FAMILY LIFE,
NOTHING REPLACES THE LOVE AND AFFECTION.
PULL UP THE DRAWBRIDGE,
TEMPERS ARE FRAYED, BUT IT'S LIKE THAT.
ALTOS DON'T BE DISMAYED IF IT'S LIKE THAT.
BASSES LIKE THAT.
PREACHER YOU'RE NOT OBEYED BUT YOU LIKE THAT -FAMILY LIFE.
BOYS AND ALTOS GOD IS GOOD, IN HIM WE'LL LIVE FOR EVER,
SATISFIED INSIDE HIS GRACE AND GLORY.
FULL CHORUS
SAFE AND SOUND IN HIS ETERNAL LOVE,
WE HAVE FOUND SALVATION.
NURSE
DAD'S IN THE GARDEN, HE WON'T SPEAK TO MUM.
MARY DEE MOTHER.
NURSE UNCLE'S IN BED WITH A PAIN IN HIS...
SHANTY THE DEVIL IS EVIL
PREACHER AND GOD IS GOOD.
MARY DEE THE DEVIL IS EVIL
SHANTY WITH A D.
MARY DEE AND GOD IS GOOD
SHANTY WITHOUT AN O.
MARY DEE AND NURSE GOD IS GOOD WITHOUT AN O.
SHANTY AND PREACHER 0...
MARY DEE AND NURSE AND SO WE ARE GRATEFUL FOR HARMONY
FOR WE WILL BE FAITHFUL
SHANTY AND PREACHER
ETERNALLY.
MARY DEE, NURSE,
SHANTY AND PREACHER (AH -)
FULL CHORUS (AH -)
GOD IS GOOD, THE UNIVERSAL SAVIOUR.
TRUST IN HIM TO LEAD US THROUGH THE DARKNESS.
LIVE IN LOVE AND WHEN THE BATTLE'S WON
MARY DEE AND NURSE
LIVE IN PEACE.
SHANTY AND PREACHER LIVE IN PEACE.
FULL CHORUS LIVE IN PEACE FOR EVER.
SOLO QUARTET LIVE IN PEACE.
ALL LIVE IN PEACE TOGETHER.
SHANTY SO ON AND ON THE STORY GOES,
FROM DAY TO DAY THROUGHOUT OUR LIVES.
MARY DEE
WHAT CAN WE DO, THAT'S HOW IT GROWS.
I AM WITH YOU,
MARY DEE AND SHANTY
OUR LOVE SURVIVES.
END
Ó MPL Communications Ltd.
SO LIKE CANDY
As recorded by Elvis Costello
By Paul McCartney/Declan MacManus
HERE LIES THE POWDER AND PERFUME,
THE PRETTY CLOTHES ARE SCATTERED 'ROUND THE ROOM.
AND IT'S SO LIKE CANDY.
HERE LIES THE LIPSTICK AND THE FACE,
THE COLOURED TABLETS KEEP IT ALL IN PLACE.
AND IT'S SO LIKE CANDY.
SO LIKE CANDY.
WHAT DID I DO TO MAKE HER GO,
WHY MUST SHE BE THE ONE THAT I HAVE TO LOVE
SO LIKE CANDY?
HERE LIES A PICTURE OF A GIRL
HER ARMS ARE TIGHT AROUND THAT LUCKY GUY.
AND IT'S SO LIKE CANDY.
AND IN HER EYES, A CERTAIN LOOK
I THOUGHT I'D SEEN THE LAST OF LONG AGO.
AND IT'S SO LIKE CANDY,
SO LIKE CANDY.
WHAT DID I DO TO MAKE HER GO,
WHY MUST SHE BE THE ONE THAT I HAVE TO LOVE SO...
I REMEMBER THE DAY THAT PICTURE WAS TAKEN,
WE WERE SO HAPPY THEN,
BUT THAT'S SO LIKE CANDY.
SHE SEEMED SO SWEET TO ME, I WAS MISTAKEN,
OH NO, NOT THAT AGAIN,
BUT THAT'S SO LIKE CANDY.
SHE JUST CAN'T FACE THE DAY
SO SHE TURNS AND MELTS AWAY.
HERE LIE THE RECORDS THAT SHE'S SCRATCHED,
AND ON THE SLEEVE I FIND A NOTE ATTACHED,
AND IT'S SO LIKE CANDY.
"MY DARLING DEAR, IT'S SUCH A WASTE."
SHE COULDN'T SAY "GOODBYE", BUT "I ADMIRE YOUR TASTE."
AND IT'S SO LIKE CANDY,
SO LIKE CANDY,
SO LIKE CANDY,
SO LIKE CANDY,
SO LIKE CANDY, OH, OH, OH, OH,
OH, OH, OH, OH, OH,
MM-MM-MM-MM, YEAH, YEAH,
OH, OH, OH, OH,
UH, UH, UH -
OH YEAH.
Ó MPL Communications Ltd./Plangent Visions Music Ltd.
PLAYBOY TO A MAN
As recorded by Elvis Costello
By Paul McCartney and Declan MacManus
YOU HAD YOUR OWN WAY ONE TOO MANY TIMES AND NOW ,
YOU'RE GOING TO FIND OUT WHAT IT'S LIKE,
JUST WHAT IT'S LIKE, NOW YOU'RE A MESS.
YOU WANTED SOMETHING YOU COULD NEVER POSSESS.
YOU WENT YOUR OWN WAY ONE TOO MANY NIGHTS,
YOU TREATED HER LIKE SOME SMALL OVERSIGHT.
WHAT IN THE WORLD MAKES HER THINK THAT SHE CAN
TURN YOU FROM A PLAYBOY INTO A MAN?
SHE'S GONNA MAKE YOU SUFFER TONIGHT,
TO TURN YOU FROM A PLAYBOY INTO A MAN.
AND WHEN YOU'RE WORTHY OF HER THEN SHE MIGHT
TURN YOU FROM A PLAYBOY INTO A MAN,
TURN YOU FROM A PLAYBOY INTO A MAN.
YOU THOUGHT YOU WERE THE ANSWER TO HER PRAYERS,
THE PERFECT GIFT THAT EVERY GIRL PREFERS.
BUT THAT'S THE TROUBLE 'CAUSE EVERY GIRL STILL THINKS YOU'RE HERS.
SO THERE YOU ARE WITH YOUR GOLD CHAINS JANGLING,
YOUR LUCKY CHARMS AND YOUR JEWELLERY DANGLING.
BUT WHEN SHE SAW YOU SHE TURNED AND RAN
TO TURN YOU FROM A PLAYBOY INTO A MAN.
WHOA!
SHE'S GONNA MAKE YOU SUFFER TONIGHT,
TURN YOU FROM A PLAYBOY INTO A MAN.
AND WHEN YOU'RE WORTHY OF HER THEN SHE MIGHT
TURN YOU FROM A PLAYBOY INTO A MAN,
TURN YOU FROM A PLAYBOY INTO A MAN.
TURN YOU FROM A PLAYBOY INTO A MAN.
YOU COULDN'T SEE THAT THE JUVENILE THINGS YOU DO,
OH, WOULD DRAG YOU DOWN AND NOW THAT THE JOKE'S ON YOU.
YOU'RE PRETTY COLD, YOU END AS YOU START
WHEN YOUR FACADE ISN'T FALLING APART.
SO NOW YOU'RE STANDING IN YOUR UNDERWEAR,
WELL, YOU KNOW JUST HOW IT FEELS FOR HER.
YOU'RE HALFWAY THERE, YOU KNOW
THAT SHE CAN TURN YOU FROM A PLAYBOY INTO A MAN.
SHE'S GONNA MAKE YOU SUFFER TONIGHT,
TO TURN YOU FROM A PLAYBOY INTO A MAN.
AND WHEN YOU'RE WORTHY OF HER THEN SHE MIGHT
TURN YOU FROM A PLAYBOY INTO A MAN,
TURN YOU FROM A PLAYBOY INTO A MAN,
TURN YOU FROM A PLAYBOY INTO A MAN.
OH OH!
OH, OH, OH, OH, OH....
BABY! BABY!
BABY, HO! HO! HO!
Ó MPL Communications Ltd./Plangent Visions Music Ltd.
Lyrics mot available - help wanted.
Lyrics not available - help wanted!
VERONICA (Demo version)
By Paul McCartney/Declan MacManus
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